In the early 1990s, several digital DIN fonts – the German industry norm typeface – were available, but only in two weights of purely geometric shapes. Albert Jan-Pool designed a family of five weights, added true italics and also some alternative characters such as “i” and “j” with round dots, and oldstyle figures. In time, five weights grew to seven, and a condensed width was added, as well as Greek and Cyrillic language support. FF DIN became a phenomenon: The typeface has pervaded corporate and publication typography, and can be seen in posters for cultural institutions.

German type designer Ingrid Liche created this display FontFont in 1995. The family contains 3 weights: Regular, Medium, and Bold. FF Liant provides advanced typographical support with features such as ligatures and case-sensitive forms. It comes with proportional lining figures. This family is suited for advertising and packaging, logo, branding and creative industries as well as poster and billboards.

FF Good is a straight-sided sans serif in the American Gothic tradition, designed by Warsaw-based Łukasz Dziedzic. Despite having something of an “old-fashioned” heritage, FF Good feels new. Many customers agree: FF Good became a bestseller. The FF Good family was fully overhauled in 2010, increasing it from nine styles to 30 styles, with an additional 30-style sibling for larger sizes, FF Good Headline. In 2014, the type system underwent additional expansion to become FontFont’s largest family ever with an incredible 196 total styles.

Lithuanian type designer Mindaugas Strockis created this display FontFont in 2002. The family contains 2 weights: Regular and Bold. FF Elementa Rough provides advanced typographical support with features such as alternate characters, case-sensitive forms, and stylistic alternates. It comes with tabular lining figures. This family is best used for advertising and packaging, film and tv as well as software and gaming. This FontFont is a member of the FF Elementa super family, which also includes FF Elementa.

FF Dax is without doubt Hans Reichel’s (1941–2011) magnum opus. The design is a contemporary streamlined sans in three widths: normal, wide, and condensed. The concept behind the typeface was to combine the clarity of a condensed Futura with a more humanist touch. The design’s most visible and influential characteristic is its lack of spurs in certain characters.

German type designer Critzla created this display FontFont in 1996. The family contains 4 weights. FF Localizer provides advanced typographical support with features such as ligatures and case-sensitive forms. It comes with proportional oldstyle and proportional lining figures. This family is used best for advertising and packaging, festive occasions, logo, branding and creative industries as well as music and nightlife.

FF Dagny is a spare sans serif drawn in the “grotesk” style. The type family was designed by Örjan Nordling and Göran Söderström for Sweden’s largest daily newspaper Dagens Nyheter. Its versatility makes FF Dagny perfect for use both in setting body copy as well as many other kinds of applications. Dagny was recognized in 2011 with an ISTD International Typographic Award.

In 2007, after seeking the help of fellow type designers Christian Schwartz and Kris Sowersby that Erik Spiekermann was able to fashion a suitable serif companion to his most famous sans, FF Meta. Rather than pasting serifs in place, the process started from scratch until a face appeared that looked and felt like a Meta, but that functioned more like a traditional serif text family. Extensions were made by Ralph du Carrois (D) and Botio Nikoltchev (BG). This family is ideally suited for advertising and packaging, book text, editorial and publishing, logo, branding and creative industries, small text as well as web and screen design.

French type designer Xavier Dupré created this serif FontFont in 2009. FF Yoga mixes the harshness of a blackletter with the balanced rhythm and round shapes of the Renaissance Roman. Its sturdy serifs are a good choice for body text. This FontFont is a member of the FF Yoga super family, which also includes FF Yoga San. The family contains 4 weights: Regular, Italic, Bold, and Bold Italic and is ideally suited for advertising and packaging, book text, festive occasions, editorial and publishing and much more.

FF Bauer Grotesk, designed by Felix Bonge, is a revival of the metal type Friedrich Bauer Grotesk, released between 1933 and 1934 by the foundry Trennert & Sohn in Hamburg Altona, Germany. The geometric construction of the typeface, infused with the art déco zeitgeist of that era, is closely related to such famous German designs as Futura, Erbar, Kabel and Super Grotesk that debuted a few years earlier.

FF Mark is one of the most iconic geometric sans serif typefaces of our time. Created by German type designers Hannes von Döhren, Christoph Koeberlin, and the FontFont Type Department in 2013, this versatile family draws on historical examples from German geometry in the 1920s. With additional creative input of Erik Spiekermann, they created a contemporary interpretation of classic German geometric sans: FF Mark is available with 61 styles and many weights ranging from Hairline to Book to Ultra.

FF Suhmo draws inspiration from classic slab serif types, particularly those used as and derived from typewriter faces, like Courier and American Typewriter. The design has short ascenders and descenders, a large x-height, and minimal contrast of stroke, combining simplicity and functionality with playfulness. The family covers four weights: Light, Regular, Bold and Black – each complete with italic. Design: Alex Rütten.

Released in 1991, FF Scala was FontFont’s first serious text face. Martin Majoor’s distinctively low contrast design, complete with long-coveted features such as small caps and oldstyle figures, captured the attention of a generation of early digital designers. The family includes a complete four-style set, plus two condensed weights for working in more constricted spaces.

The robust text face, designed by Jakob Runge, performs well in body text, while its more extreme weights do the work of setting headlines. Details such as its short descenders accommodate tighter linespacing, producing denser paragraphs and better stacked subheads. The modestly sloped italic draws influence from handwritten forms, and lightens the tone on the page. All typographic niceties are included, such as small caps, multiple figure sets, fractions, and a range of arrows and icons.

The family that became FF Meta was first called PT55, an economical typeface made for easy reading at small sizes created for the German Post Office. Erik Spiekermann later improved and expanded his design to include more weights and styles, and prepared its release as FF Meta, one of the first and truly foundational members of the early FontFont library.

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German type designer Jan Jedding created this script FontFont in 1994. FF Friday Saturday Sunday provides advanced typographical support with features such as ligatures and case-sensitive forms. It comes with proportional oldstyle figures. The family contains 3 weights: Regular, Semi Bold, and Bold and is ideally suited for advertising and packaging, festive occasions as well as software and gaming.

Amman was designed in both Latin and Arabic and is one of the very few bi-script families where both the Arabic and the Latin characters were concurrently drawn from scratch by the same designer (Jan Gerner, alias Yanone). The unconventional family includes seven sans serif and four serif weights, each complete with italics, and full Latin and Arabic character sets. FF Amman is also the first typeface of its kind to contain “true Arabic italics,” instead of the much more common oblique versions often paired with the Arabic script.

Using Franz Kafka’s handwritten literary oeuvre as a source, Julia Sysmäläinen created the FF Mister K family, beginning with “the temptation and challenge” of capturing the writer’s free flowing penmanship as type. Technically, Julia reaches her convincing reproductions with the aid of OpenType substitution and hundreds of ligatures, alternate forms, and emphatic underline and crossout glyphs. The typeface supports both Latin and Cyrillic-based languages, and has received numerous awards.

FF Signa is radically different from most sans fonts made for text that were published during the 1990s. Originally created for signage—hence the name—FF Signa was developed by Ole Søndergaard to a typographic family with three widths. All weights include italics, small caps, and several styles of figures. Because of the quality of this “vernacular-lettering-turned-typeface” conversion, FF Signa received a Danish Design Prize in 2002.

London designer John Critchley worked with illustrator Darren Raven to design a type family based on Darren’s spontaneous, symbolic, comic-like illustrations. The resulting design, FF Bokka, has four variations: Solid, Outline, Half Shadow and Shadow. These versions can be layered and matched with no less than a full set of illustrations from its Drawings style. Fun for all ages! John Critchley was a contributor to FUSE 10 (theme: Freeform).

Developed over a period of ten years, FF Balance is an experimental sans serif which subverts the conventions of the style. Its horizontal strokes are heavier than the verticals and its top strokes appear slightly heavier than the bottom. Another unusual feature is the family’s uniwidth metrics. All weights and numerals of the family have equal widths, which lets text maintain the same line length, even when converted to another weight.

FF Tisa designed by Mitja Miklavcic quickly became a new-millennium favorite of graphic designers, in print as well as on the web. Its large x-height and sturdy, well-spaced forms aid its legibility at text sizes, while its low stroke contrast and range of weights allow it to successfully function at larger sizes as well. In 2007 Mitja Miklav received the TDC Certificate of Excellence in Type Design for FF Tisa. This award encouraged him to expand FF Tisa to a super family, with a corresponding FF Tisa Sans.

Xavier Dupré’s FF Yoga mixes the harshness of a blackletter with the balanced rhythm and round shapes of the Renaissance Roman. Its sturdy serifs are a good choice for body text. They also serve as an effective headline face given their subtly chiseled counters. FF Yoga Sans is a contemporary alternative to the quintessential humanist sans (e.g. Gill Sans) and a steady companion to FF Yoga Serif. Together the two make a true type system, conceived for newspapers and magazines and featuring strong personality and pleasurable reading.

Based on the proportions of Frutiger (licensed from Linotype), FF Transit is a highly legible design that works well for readers who need quick orientation while en route. Made to blend aesthetic quality with legibility, it was originally developed by MetaDesign in Berlin for official use by the Berlin Public Transportation Services (BVG).

Dutch type designer Martin Majoor created this sans FontFont between 1993 and 2003. Scala Sans is part of the Scala Super family which was released in 1991. The family has ten weights, ranging from Light to Black in Condensed and Normal (including italics) and is ideally suited for advertising and packaging, book text, editorial and publishing, logo, branding and creative industries, small text, wayfinding and signage as well as web and screen design. FF Scala Sans provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths.

Danish type designer Jan Maack created this sans FontFont in 2012. The typeface was selected as one of Typographica’s favorite typefaces of 2012. The family has eight weights, ranging from Light to Black (including italics) FF Marselis provides advanced typographical support with features such as ligatures, alternate characters, case-sensitive forms, fractions, super- and subscript characters, and stylistic alternates. And is ideally suited for advertising and packaging, logo, branding and creative industries as well as web and screen design.

Evert Bloemsma (1958–2005), designer of FF Cocon, described it as a “serious typeface.” Despite first impressions, the description holds up well. Since its 2001 release, FF Cocon has been used in an astoundingly wide variety of design applications. At large sizes, FF Cocon works as a display face, with beautiful detailing. And at small sizes, it remains surprisingly readable. The original FF Cocon had two widths—normal and condensed. Later, a more compact Extra Condensed version was introduced, as well as italics.

British type designer John Critchley created this display FontFont in 1995. According to him FF Bull is an authentic reproduction of old John Bull rubber stamp type sets, inked to varying amounts to produce six discrete weights. Each is fully interchangeable and can be combined or overlaid to provide additional variety. Certain of the weights contain special “dirt-keys,” which can be used to customize a piece of design even further. FF Bull provides advanced typographical support with features such as ligatures and case-sensitive forms. It comes with proportional lining figures.

FF Hydra was designed by Silvio Napoleone for extreme versatility, both in print and screen media. The Regular style provides punch with an economy of width, creating a unique overall impression. Its Expanded version is suitable for longer bodies of text. Other elements of the family include its characteristic soft ink trap connections, oldstyle figures, and true italics.

Slovenian type designer Mitja Miklavcic created this sans FontFont in 2011. The family has 14 weights, ranging from Thin to Black (including italics). FF Tisa Sans provides advanced typographical support with features such as ligatures, small capitals, alternate characters, case-sensitive forms, fractions, and super- and subscript characters. It comes with a complete range of figure set options – oldstyle and lining figures, each in tabular and proportional widths. In 2013, FF Tisa Sans received the CommArts award and was also selected as one of Typographica’s favorite typefaces of 2012. This FontFont is a member of the FF Tisa super family, which also includes FF Tisa.

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